From brotherhood and hard work to historical myth and orchestral darkness, Velkhanos reflect on their journey, creative evolution, and the expanding saga behind The Vampire of Alva albums and vision.
1. The
band was founded in 2018 and solidified after your first live show in 2019.
What do you remember most about that moment, and how did it shape the identity
of Velkhanos?
When we
started playing together, we knew each other but weren't friends. After that
first show, we all felt a connection that made us want to take the next step.
It was a
very special moment and, essentially, the seed of what we are today: a big
family, including the members who no longer play in the band.
2. The
Wrath (2020)
had a powerful traditional metal foundation. Looking back, what was the biggest
lesson you learned from creating your debut LP with Pedro J. Monge and Art
Gates Records?
Hard work.
From our
first contact with Pedro, we understood that we would have to work incredibly
hard to make the project a reality. The experience was the same with Art Gates.
We had to work very hard to produce videos, merchandise, shows... A band needs
a lot of dedication and a lot of personal sacrifice.
3. You
later released a Black Sabbath cover, “Falling Off the Edge of the World.” What
draws Velkhanos to Sabbath, and how do you balance honoring classics while
keeping your own voice?
Black
Sabbath was one of our favorite classic bands. The opportunity arose to record
that cover, and we wanted to put all our heart into it to create something that
lived up to expectations and still represented our sound.
4. The 2023 single “Gunpowder” and
its music video were described as one of your most ambitious challenges. What
made this project so demanding, and what did it unlock creatively for the band?
When we
filmed Gunpowder, we were a band with no resources (and we still are), but we
were convinced that we had to approach each new project with something bigger.
We had already made a video playing in an industrial warehouse (simple but
decent for a start).
Now we
wanted to introduce a story, landscapes, settings... We had to build all the
props, prepare sets, and move 10 people 800 km from our homes for several days.
Luckily, we had help from many friends who lived in Sanabria (where the video
was filmed), and they made our work much easier. We would meet in a bar to
prepare everything, and new ideas were always popping up, like bringing horses
or playing in a river. It was absolute madness.
5. The Vampire of Alva Pt. 1 (2024)
introduces stronger orchestral elements and a darker atmosphere while keeping
melodic essence. How intentional was this shift, and what emotions or themes
pushed you toward this sound?
I think it
was a natural evolution. When we finished "The Wrath," some of our
favorite tracks were "Moloch" and "The Last Day." These
songs already introduced that atmosphere. They were the last ones added to the
album, and I think it was the music that was emerging at that point in our
lives.
6. The
album blends historical fiction around the III Duque de Alba with reflections
on war, death, and legacy. How do you approach storytelling without losing the
musical aggression and emotion that define your music?
It's a
difficult question to answer. I read a lot during the songwriting process and
make notes on the facts I consider most relevant, as well as my own reflections
on certain matters. When I sit down to write the lyrics, I simply let the words
flow to give meaning to all those notes. Now I live outside the city and have
plenty of time to reflect.
7. This album also features
multiple collaborators including Óscar del Val and Leire Tejada. How do outside
voices influence the core chemistry between Fernando, Ángel, Mauro, and Nia?
These
singers are friends of ours, so their integration is very natural. We know how
they sing and how well they can fit into the songs. We think it's a good idea
to broaden our sound a bit and enrich it with different voices and textures.
8. Your 2024 European tour crossed
countries like Poland, Hungary, and Romania. Did performing in regions with
deep historical and folkloric backgrounds influence the next chapter of The
Vampire of Alva?
Of course.
Much of the idea and inspiration for "TVOA Pt. 1" came from visiting
Spanish cities, but we mustn't forget that this whole story has a European
context. There are stories that may not be directly connected to the III Duque
de Alba, but in one way or another, during that time period, the Spanish
Tercios played a role... Who knows? Perhaps there's a song about the defense of
Vienna in 1529.
9. The upcoming The Vampire
of Alva Pt. 2 will close this conceptual arc. Without revealing too
much, what can fans expect to evolve musically or narratively in this
continuation?
As of
today, we're not sure if there will only be a Part 2; there could be a third as
well. It depends on all the material we prepare and its length.
In Part 2,
the music will be the logical evolution of Part 1, perhaps a little darker and
maybe with a flamenco feel. Narratively, there will be two parts, as in Part 1.
One part will be dedicated to the fictional story we're creating about the
Duque de Alba, based on the real one, and the other part will cover other
stories from that era.
10. When you write music inspired by
war, fear, and myth, how do you make sure listeners still find connection,
meaning, or even empowerment in the darkness rather than feeling distant from
it?
I simply
can't do it. I write music as I feel it, and hopefully, listeners will connect
with those stories and thoughts. I think it's the most sincere way to do it.
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